The site offers prepared banjo lessons from Tony, with students invited to submit videos of themselves playing the lesson material, to which Tony will respond individually.

Registration costs $60 for 3 months which not only allows them access to the online lessons, but also to participate in the online forums, create their own student page, plus the ability to easily upload their own lesson videos using the site’s video management system.

Tony was eager to see things launch when we discussed the new site last week, and he assured us that students could expect individual attention to their lessons, even when he is on the road.

“The primary videos have already been shot – about 150 digestible lessons from beginning to advanced – with more to come.

Tablature is included with the lessons, and I will respond to each video sent to me.”

Here is an introductory video that offers a few more details about Tony, and this new learning system.

Click here to view the embedded video.

First up is Carol Beaugard’s Lonesome Pine RFD which airs on WFDU in the New York City metro market. The show airs from 9:00 a.m until noon (EDT) and Carol will speak with both Tony Trischka and Claire Lynch about their plans for the rest of ‘09.

Tony will be on the line at 9:15 to talk about the Tony Trischka School of Banjo, a new online instructional site which will launch this summer. Carol also plans to ask him about his work on Steve Martin’s recent banjo CD, The Crow.

Then at 11:00, Claire Lynch will join Carol to break the news about a new Rounder project she expects to have this fall.

Catch Carol et al. on Lonesome Pine RFD at 89.1 FM in the NYC area, and streamed live online at WFDU.fm.

After the announcements, they will run a video of a live performance at The Gathering in 2004 by The Masters Of Bluegrass: Bryn Bright, Sam Bush, Vassar Clements, Peter Rowan, Gordon Stone, and Tony Trischka.

The webcast begins at 8:00 p.m. (EDT) on the festival website.

The 2009 fest runs July 23-26 in Bridgeport, CT.

Guests include Pete Seeger, Bruce Molsky, Bill Keith, Paula Bradley, Mike Seeger, and Bill Evans.

The CD contains extensive liner notes by Bob Carlin covering Trischka’s background and bio (titled: Tony Trischka Territory), and A Short History of the Banjo. Also included are Trischka’s notes on each of the 21 tracks. His notes detail the many alternate tunings represented on the recording, give background info on each song’s history, and stories of the collaborative efforts with his guests.

One highlighted quote from the liner notes is Tony’s explanation of why he plays the banjo.

It’s like the banjo chose me…

I didn’t really have a say in the matter.

territory is available from Smithsonian Folkways Records as a physical product or a download. The notes are provided as a free PDF download on the same page, along with audio samples of each track.

Dozens of tunes most commonly played on the fiddle are arranged for 3 finger banjo, encompassing music from the American and British Isles fiddle traditions. Bluegrass, Celtic and old time tunes are included, presented in tablature, and played on the two accompanying audio CDs.

Trischka is well known for his many recordings of banjo music, but perhaps less so as an outstanding instructor of the instrument. He has authored a number of popular banjo books and DVDs, targeted at banjo players and students from rank beginners to serious practitioners.

This new Mel Bay title contains pieces that will be comfortable for new pickers, and others that would challenge long-time players.

Master Collection of Fiddle Tunes for Banjo should be available now wherever banjo instructional books are sold. The book runs 256 pages (spiral bound) and sells for $34.95.

That reference doesn’t seem especially startling to modern eyes, following Tony’s success in 2007 with his Double Banjo Bluegrass Spectacular project, but when Hill Country was initially released on LP in ‘85, it smacked of heresy.

Tony explains why…

“After spending ten years putting out primarily progressive, left of center albums for Rounder, I decided I wanted to do a project that reflected my deep love for traditional bluegrass. I contacted the label and they were all for it.

My goal was to compose all of the music, in various categories……..blues tune, Scruggs/Keith tuner tune, gospel song, Stanleyesque tune, etc. I succeeded in doing that, and added in a traditional fiddle tune, to have a duet.”

In the mid-1980s, the sort of experimental string music we hear regularly now was far more controversial, and for many bluegrass purists the mere notion of one of “those pickers” crossing over to the traditional realm was beyond the pale. Artists like David Grisman, whose own variant on traditional string music was emerging at the time, had gone the opposite way – working initially in bluegrass and moving into what would soon be labeled as Dawg Music after doing his time as a grasser.

Trischka had not only started and stayed in the progressive camp until this time, but his music was more challenging harmonically to the ears of bluegrass fans of that day.

To further break the mold, Tony selected a different set of musicians for these sessions. Up to this point, he had primarily recorded with fellow string music progressives from the northeastern US like Russ Barenberg, Andy Statman, John Miller, Matt Glazer and Evan Stover.

“The majority of the tunes for Hill Country were recorded with the Nashville A team….Sam Bush, Jerry Douglas, Tony Rice, Bela Fleck, Mark O’Connor, with Mark Hembree (Monroe’s bassist around that time) and Sonny Osborne twinning with me on a tune we co-wrote. Two other sessions featured the Johnson Mountain Boys and Del McCoury.

During the mixing process I became ever more aware of how amazing Tony Rice’s back up can be. His leads are stellar, but if you ever have the luxury of soloing his back up in a studio, and just isolate his back up, you’ll fall over. It’s mind boggling.

I remember Mark O’Connor overdubbing his solo on the album 6 or 7 times. Each pass was mind boggling. He would dismiss each one and say, ‘Aww, I can do better than that,’ and do a take that would somehow surpass the previous one.”

At the time, Tony had been an endorser of Stelling banjos – a fitting modern banjo design for a rules-breaking picker. For Hill Country, though, Trischka reached back in time for one of the vaunted pre war Gibson banjos.

“I used my pre-war flathead PB-3 from 1932 for all the tunes. I’d recently acquired it from Sonny Osborne, who had told me at a gig that a professional carpenter needs the best tools he can get. Same with a professional banjoist. So he called me one day and said he had come across the PB 3 and thought I should have it. I cadged together the money and I just the love the tone of the thing on this album.”

All but one tune, a banjo/fiddle duet on Mississippi Sawyer, were written by Tony – one, Sunny Days, co-written with Sonny Osborne.

“It’s harder to name tunes than to write them, so as I was driving into Nashville on my way to the first session and saw the Cross Eyed Cricket camp ground and passed by Crossville, there were two titles right there.

Bela did a beautiful job of producing and ended up doing a lot of the actual hands-on engineering himself. He also contributed a very cool solo on Sunny Days.

For the CD reissue, we added one bonus track (Buffalo Creek) which was recorded for a Rebel Records AcuTab project that Tim Stafford had produced. I really liked the way it turned out and was hoping to put it on this reissue. Rebel was kind enough to give the go ahead, so it appears as the last track.”

The CD also has extensive new liner notes from Tom Adams, which includes this final observation…

“Hill Country gives us a glimpse of the past. What we see and hear from our vantage point in the present is mysteriously comfortable. Twenty-some odd years ago, Tony Trischka was pointing the way before anyone else even knew they wanted to head in that direction. This is music that influenced a new generation of musicians to re-think and re-draw the boundaries of roots-based music. Roots that run deep. And ‘grass that keeps growing.”

I could not find any audio samples online, but they should appear soon on the Rounder site or in iTunes.

This is a terrific album of original banjo music, and a must have for all of Tony’s newer fans.

Tony is viewed as a mainstream guy these days, thanks in no small part to his blockbuster Double Banjo Bluegrass Spectacular project which hit in early 2007. In the mid-1980s, however, he was noted mostly for his daring, adventurous original banjo music – which was highly experimental and often eschewed by bluegrass purists.

When Hill Country was initially released as an LP, both sides of that argument were left scratching their heads as the music was decidedly bluegrass, both in composition and instrumentation. Tony had chosen both The Johnson Mountain Boys and The Del McCoury Band as his primary rhythm sections, with guest performances from Sam Bush, Tony Rice, Jerry Douglas, Mark O’Connor and B?©la Fleck.

The tunes still showcased Trischka’s quirky compositional sense, and he seemed energized by the musicians with him in the studio. He had expressed to me at the time how much he had enjoyed the sessions, and the time he spent writing and arranging the material.

This is lively and exciting music, showcasing a number of today’s most notable bluegrass artists before they reached such lofty status as they enjoy now. By all means, make a point to pick this up when it hits in October.

A bonus track is also included, with extensive new liner notes.

The show airs in most markets at 9:00 a.m. local time, and a searchable listing of show times can be found on the Regis and Kelly web site.

We had a chance to discuss Territory with Tony recently, and he shared a few details about the new CD, due 3/25 from Smithsonian Folkways.

“Territory is a departure for me in that most of it is not full band. I do a little clawhammer, turn of the century and bluegrass – it’s a pretty wide range. There are 12 solo tunes on the album…mostly original tunes.”

The CD features 21 tracks, including a few with the twin banjo theme of Tony’s prior release, Double Banjo Bluegrass Spectacular, which was released last year on Rounder.

“The move to Smithsonian is just this ‘one-off.’ I’m still with Rounder and have a new project planned with them after Territory comes out. When Territory was first set in motion I was doing a lot of solo gigs and wanted to have something updated (Solo Banjo Works with Bela being over 10 years old at the time). That was the immediate impetus for this project.

There are five songs we recorded for the Double Banjo project that we decided weren’t bluegrass enough. Leatherwing Bat features me and Pete Seeger (singing and playing) with Bruce Molsky on fiddle. Mike Seeger joins me on one of my tunes on banjo and harmonica. Bill Keith and I duet on one of my tunes with Paula Bradley on piano (kind of New England style—Bela’s suggestion). I do a turn of the century tune (Banjoland) with Bill Evans…nylon strung banjos. The last is a medley of two neo-old time tunes that I wrote and perform here with Jawbone…a short-lived band featuring me, Bruce Molsky and Paula Bradley. Here Paula plays guitar, Bruce is on fiddle and clawhammer banjo, and I’m playing clawhammer.

Finishing it all off I included four tunes with an incarnation of the double banjo band…two originals plus Molly and Tenbrooks and Salt River. The line-up is Michael Daves guitar and vocals, Brittany Haas on fiddle and Skip Ward on bass.”

I asked Tony about the inspiration for some of his compositions that are included…

“I wrote one tune each for my wife (Eighteen – in double C tuning), my Son (Sean - drop C) and my daughter (Zoe – drop C). I also include a medley of two tunes, each one written exclusively on one string of the banjo. I also have a tune called Fox Chase, featuring the band with Michael Daves. I was inspired to write this after hearing DeFord Bailey (the first African American to be on the Grand Ole Opry in the late twenties through the fifties) playing harmonica on a traditional Fox Chase tune. Bailey was outrageous.”

No audio up yet on either the Trischka or Folkways sites, but we’ll keep an eye out.

He will join host Carol Beaugard for a discussion about his upcoming CD release, Territory, and perform tunes live in the studio. Carol also plans to ask Tony about the success he enjoyed in 2007 with his Double Banjo Bluegrass Spectacular which involved Tony performing banjo duets with some of the most celebrated five stringers on earth.

Banjo players and bluegrass history buffs should be especially interested in this interview as Carol and Tony will place a phone call to Judy Thompson to talk about her late husband, banjo legend Bobby Thompson. She will discuss Bobby’s career with Tony and share details about the two posthumously released CDs of his music which Judy has produced.

The show is broadcast live on 89.1 FM in the NYC area, and streamed live online at WFDU.fm. The Trischka interview segment begins at 10:00 a.m. (EST).

Despite all the hoopla he generated with the Double Banjo project, this time out Trischka is following a more minimalist approach. There are several cuts on Territory that feature twin banjos, but the bulk of the 21 cuts feature Tony with his band, and a dozen are performed as solo banjo tracks. Other than a few traditional fiddle pieces played in medleys, and a couple of bluegrass standards, the tunes are all Trischka originals.

It’s the stylistic variety that may be the most appealing aspect of this CD, however. Tony has mastered the 5 string banjo as a musical instrument, not purely as a bluegrass picker. He does include a version of Bill Monroe’s Molly and Tennbrooks with his band (Michael Daves, Brittany Haas, Skip Ward), but the album also features him on music that is drawn from Celtic, folk, blues, and old time roots – blended into Trischka’s unique and highly individual style.

Most of the banjo playing is done in 3 finger style, though without picks on one, and in the clawhammer style on another. A number of non-standard tunings are used, indicated in the song notes throughout. Fellow banjoist Bob Carlin contributes both a Short History of the Banjo, and extensive liner notes.

Territory is scheduled for a March 25 release from Smithsonian Folkways. Special guests include Pete Seeger, Bruce Molsky, Bill Evans and Mike Seeger.

Later this morning, they will present a live, in-studio performance of the music from Tony Trischka’s award-winning recording, Double Banjo Bluegrass Spectacular. The CD features Tony in duet with some of the most prominent pickers ever to set three picks to five strings: Earl Scruggs, B?©la Fleck, Bill Emerson, Alison Brown and several others.

Tony has called on a number of fine banjoists to accompany him for touring in support of the CD, including Sirius Bluegrass co-host Ned Luberecki, and it is Nedski himself who plays second banjo with Trischka for this program.

The show will air at 11:00 a.m. (EST) on Sirius Bluegrass (Channel 65), rebroadcast on 12/28 at 5:00 p.m., 12/29 at 8:00 p.m. and on 12/30 at 4:00 p.m.

Ned had been out with Tony Trischka this past week, supplying the second banjo for a string of dates in support of Tony’s Double Banjo Bluegrass Spectacular CD, and told us that they had a surprise guest for Thursday’s show at The Cutting Room in New York City, in the person of Steve Martin.

“Tony told me earlier in the day that he had emailed Steve about the gig, not even knowing if Steve was in New York. We didn’t actually know that he was going to be there until just before show time. We had just a few minutes to rehearse before they opened the doors to the club, so we went over the triple banjo version of ‘The Crow’ with Steve playing the melody, Tony on the second and me on the third part. Then Tony asked if Steve would like to play anything else on the show.

Steve started playing a tune and asked if we wanted to figure it out. The song was ‘Pitkin County Turnaround’ which Steve had recorded on his ‘Steve Martin Brothers’ album. After Steve played through it once, I took a solo. Steve seemed surprised that I knew it. Afterward he asked me how I learned it so fast. I told him that I learned it from his record… 25 or 30 years ago!

For the record, I got my first banjo, and two Steve Martin records for Christmas the same year. If you were to look at those albums, you’d probably see the grooves worn clean on the parts where he played the banjo.

All joking aside, Steve was my original inspiration for starting to play the banjo. The first song I learned from a record (without tab) was his version of ‘8 More Miles To Louisville’ (which was part of his ‘You can’t play a sad song on the banjo’ bit). And believe it or not, I learned ‘Sally Goodin’ from the flip side of the 45 of ‘King Tut’ even before learning it from the Earl Scruggs book.”

Take that all you people who insist that Steve Martin had no impact as a banjo player!

Ned also passed along this photo from a show he did with Tony back in October where they were joined by Bela Fleck for another Triple Banjo Bluegrass Extravaganza.

He also mentioned that there are a number of video clips from the recent Trischka dates up on YouTube.

The setting for the Banjo Retreat is the stunning 1865 Drouillard House and its surrounding grounds and The Mad Platter, an acclaimed Nashville restaurant, caters the event.

“While we try to get the best teachers and players we can each year, the Drouillard House and the food are probably what keep people coming back. I’ve taught at most banjo camps across the country, and I’ll proudly admit that I think the comfort level of our camp is second to none. And that creates a relaxing atmosphere for folks to have a great weekend.

We’re also excited about Kristin Scott-Benson being with us. She’s one of our favorite players and people and her playing and teaching are going to bowl people over!”

Small group classes, faculty concerts, jamming and a wide choice of electives highlight this year’s class offerings, with a special emphasis this year on double banjo playing, in honor of Tony’s CD, Double Banjo Bluegrass Spectacular.

Folks do seem to come back year after year – this year’s camp sold out in early June. As a special added feature for 2007, Munde, Evans and Luberecki will perform at the Station Inn on Thursday night, October 18th at 8 p.m., backed by guitarist Tim May, fiddler Megan Lynch, mandolin player Roland White and bassist Jon Weisberger.

If you want to get in on the NashCamp experience, reservations will be accepted for the 2008 event on January 2, 2008.

Right now we’re listening to Tony Trischka deliver his Keynote Address. Tony is nominated for a couple awards this year for his CD Double Banjo Bluegrass Spectacular. Tony’s speech has been a lesson in bluegrass history to this point, with some great stories and funny moments.

Tony is turning the speech toward the future of bluegrass as I type. He’s talking about drawing on the great historical markers of the past to inspire the creation of something fresh. A lesson he has applied in his own life and playing.

Here are a couple photos John snapped while Tony was talking.

    

Tony will be performing live in the studio, discussing his three IBMA nominations, cunducting a three minute mini-music lesson, and talking about his personal favorite recordings.

Listeners in the New York City metro area can tune in on their radio dials at 89.1 FM. For the rest of us, the show will be streamed live from the station’s website at wfdu.fm.

Dave and Tony will “talk banjo,” and field calls from listeners – who will have the opportunity to win autographed copies of Tony’s latest CD, Double Banjo Bluegrass Spectacular, and other banjo prizes.

Visit banjotalk.com to access the live stream and listen to the show with Tony Trischka on Sunday, July 8 at 8:00 p.m.

Having lived in Wyoming for three years I can attest to the beauty and splendor of the setting for this event.

The camp is scheduled for August 7-10, 2007 and boasts an impressive line up of instructors.

• Ben Winship – Mandolin & Camp Director
• Mike Marshall – Mandolin
• Scott Nygaard – Guitar
• Tony Trischka – Banjo
• Brian Wicklund – Fiddle
• Eric Thorin – Bass
• John Lowell – Songwriting

Using bluegrass music as the common language, the camp focus is on teaching individual instrumental skills, group playing and jamming. Each day features morning and afternoon classes on your chosen instrument, elective workshops, jam sessions (both structured and unstructured) and evening performances making this Targhee Institute event extraordinary.

Registration for the camp includes 3 days of meals and lodging. Registration fees range from $700 to just over $900 depending on your willingness to share a room with another student.

For information about the festival and the camp, visit them online at the Grand Targhee Resort website.

The clip also features Michael Daves on guitar, Brittany Haas on fiddle and Skip Ward on bass.

You can watch the Letterman video on YouTube, where you can also find a clip of Steve and Tony performing this same song on The Ellen DeGeneres show.

If you want more, there is an hour long video shot in January 2007 on the Kennedy Center site featuring Tony and Noam Pikelny on banjos with the same supporting cast (guitar, fiddle, bass) as the Letterman and Ellen shows.

Tony will be appearing this week on The Late Show with David Letterman with two of his other banjo co-conspirators from the CD, B?©la Fleck and comedian/musician Steve Martin. They will perform The Crow, a tune written by Martin for Tony’s new release, on the Thursday, April 26 program, broadcast on CBS.

Trischka has also taken his double banjo show on the road, adding a variety of “second banjo” guests as may be available. The bulk of the dates feature either Crooked Still banjo man Greg Liszt, or Noam Pikelny, of Chris Thile’s Tensions Mountain Boys.

See the full tour schedule on Tony’s web site.

The CMT piece focuses on Tony’s collaboration with actor/comedian/banjo player Steve Martin, who also appears on the new CD, and getting the opportunity to perform with Martin on The Ellen DeGeneres Show.

Tony also shares his feelings about working with Earl Scruggs.

“When we were recording the album, I was sitting knee to knee with him while we were rehearsing the tunes,” he says. “The thing that really hit me is how powerful his playing still is. And I saw him in New York four or five months ago. Just the very first hit of ‘Salty Dog,’ there was just that sound. The tone is the thing with Earl. It’s just so deep and so right and so perfect and so there, you can’t even really explain what it is about it, but it takes your head off.”

Read the full interview at CMT.com.

Speaking of Trischka, Martin and television… The two will be appearing on The Late Show with David Letterman on April 26, so mark your calendars and set your TiVo.